沉思的風景：陳鏘旭繪畫探索

Abstract

本論文的核心是風景畫的創作實踐，以沉思的風景作為題目，是因為沉思（Meditation）一詞，帶有冥想、深沉思考之意，在許多時刻，包含創作前、創作當下乃至於創作完成後的自我觀看與審視，深沉的思考都很符合筆者的狀態。筆者試圖追尋的，正是在繪畫外表之下更為深刻的精神意涵，以此動機，一方面希望能創作出屬於臺灣的當代風景畫，另一方面，藉由深沉的思索，希望找到使內心感到平靜的繪畫形式。 論文內容涉及幾個大面向，包含西洋風景畫與臺灣風景畫的脈絡梳理；自我心境的傳達與風景畫的象徵性；當代風景畫作為逃離與對抗的精神場域，並以安居之所的詩意概念建構；從眺匿理論與中國畫論之郭熙（約1023-1087）的《林泉高致》思索安居之可能，最後，試圖將山水畫特質之「逸筆草草」與「平淡天真」兩個概念對應到油畫創作，思考與想像油畫作品之可能面貌。基本上，筆者透過對風景畫歷史的梳理，理解其發展脈絡與趨勢，從而找出適合自己以及當代風景畫的可能表達方法，甚至連結至山水畫的特質，並以理論化的方式展開。最後一個章節，筆者整理歸納自身的創作樣貌，分為三個部分，其一，以樹為對象的風景畫創作；其二，在藝術哲學語彙影響下的風景試驗，其三，自我反思與觀照，樂園意象之展開。

風景畫具有較為寧靜的屬性，筆者希望能在當代藝術眾聲喧嘩的環境中提供一處思緒停頓之所，也希冀自身能從風景畫的創作中，找到藝術與生命的解答。This thesis focuses on the practical creation of landscape. The"Meditation" as the theme of our creation for this phrase has a connotation of pondering over things. As a creator, I often have to 'meditate.' I indulge myself in the state of medication before, while, and after we create a piece of artwork. This mental state also reflects self-reflection after completing the artwork. I am trying to impose a spiritual inspiration, which is beyond the painting itself. This is my motivation for creating the contemporary Taiwanese landscapes. On the other hand, through meditation, I hope to find a painting style which brings inner peace for both the creators and the viewers.In this thesis, we focus on several aspects. I described the contexts of Western and Taiwanese landscape. I discuss the manifestation of an artist's mental state and the representation of the landscapes. Also, I probed into how artists uses paintings as a way to escape from or defend themselves from the chaos in real life while poetically comparing their paintings to the shelter for their spirits; and to ponder over the possibility of living a peaceful life through prospect-refuge theory and the classic of Chinese painting theory of The Lofty Message of Forests and Streams by Guo Xi(ca.1023-after 1087). Finally, I tried to apply the techniques of'flowing strokes' and 'loyal depiction,' the two common styles in Chinese landscape, into oil paintings. Basically, what I do is to review the history of landscape for better understanding of the contexts and trends in this type of painting. Hopefully, by doing so, I can find a suitable method for myself and explore more possibilities for landscape. I even analyze the theoretical basis for the features of Chinese landscape for more inspiration. In the last chapter, I analyzed my own creations, and the analysis was divided into three stage. In the first stage, I created paintings of trees. In the second stage, I experimented with depicting different landscape under the influence of artistic philosophy. In the third stage, through self-reflection and observation, I included the images of paradise in my painting.Landscape have the nature to render a tranquil atmosphere. In this generation when everyone claims to have their own theories of art, I hope to find some peace from producing the landscape. Hopefully, my creations can enlighten me to find the truth in art and in life as well.